century the sultan of Morocco occupied the oases, which remained in political dependence upon Morocco. In the 17th century, however, the sovereignty of the sultan had become almost nominal and this state of quasi-independence continued. The treaty of 1845 between Morocco and France left the question of the possession of Tuat, Gurara and Tidikelt unsettled. After the murder in 1881 of the members of the Flatters mission — a French expedition sent into the Sahara — a measure concerted at Insalah, several of the Tuat headmen sought Moroccan protection, fearing the vengeance of France. A chief calling himself the Moroccan pasha established himself at Timmi, but Morocco took no active step to assert her sovereignty. In 1899 a French scientific mission, under Colonel Flamand, was despatched to the oasis of Tidikelt. The French were attacked by the natives (Dec. 28, 1899), whom they defeated, and the next day Insalah was occupied. This was the beginning of a serious campaign in which the French suffered severe losses, but by March 1901 the whole of the fortified places in the three oases had been captured. To cut off the oases from Morocco the town of Igli, 140 m. north-west of Gurara, was also annexed by the French (April 5, 1900). Igli (pop. 1057 in 1906) occupies an important position, being placed at the junction of the wadi Zusfana and the wadi Ghir. The French were not, however, left in peaceable possession of their newly acquired territory. Attacks by the nomad tribes, Moroccan and others, were made on the line of communications, and during 1903 the French troops suffered serious losses. To punish the tribes the town of Figig was bombarded by the French (June 8, 1903). On the 2nd of September following a band of nomads attacked, at a place called El Mungar, the escort of a convoy going to Taghit. After maintaining the fight 7½ hours the French were reinforced and their enemies drew off. Out of 115 combatants the French lost 38 killed and 47 wounded.
To consolidate their position the French authorities deter- mined to connect the oases with the Algerian Sahara proper by carriage roads and railways. One road goes north-east to El Golea, 150 m. distant from Insalah; another north from Igli to a post called Beni Ounif, 2½ m. south of Figig, to which point the railway from Ain Sefra, in the Oranese Sahara, was carried in 1903. The continuation of this railway to Igli was begun in the following year.
Major A. G. Laing visited the Tuat territory in 1825 on his way to Timbuktu, but his papers were lost. The next European to visit Tuat was Gerhard Rohlfs, who described his explorations and investigations in Tagebuch seiner Reise durch Marokko nach Tuat, 1864 (Gotha, 1865) and Reise durch Marokko . . . Exploration der Oasen von Tafilet, Tuat und Tidikelt . . . (Bremen, 1868). A. G. P. Martin's Les Oasis sahariennes (Algiers, 1908) gives an account of the history and economic condition of the oases. Consult also Commandant E. Laquière, Les Reconnaissances du Général Servière dans les oasis sahariennes (Paris, 1902), a valuable monograph by an officer who took part in the operations in 1900-1901; E. F. Gautier, Sahara algérien (Paris, 1908), and various contributions by G. B. M. Flamand in La Geographie and Annales géographiques for 1900, Comptes rendus (1902), Bull. géog. hist. et descriptive (1903), &c.
TUBA, in music. The tubas — bombardon, helicon, euphonium
(Fr. tuba, sax-tuba, bombardon; Ger. Tuben, Tenor-bass,
Bombardon, Kontrabasstuba, Helikon; Ital. basstuba, bombardone)
— are a family of valved instruments of powerful tone forming
the tenor and bass of the brass wind. In the orchestra these instruments
are called tubas; in military bands euphonium (tenor),
bombardon and helicon (bass).
The modern tubas owe their existence to the invention of valves or pistons (Ger. Ventile) by two Prussians, Stölzel and Blümel, in 1815. The tubas are often confounded with the baritone and bass of the saxhorns, being like them the outcome of the application of valves to the bugle family. There is, however, a radical difference in construction between the two types: given the same length of tubing, the fundamental octave of the tubas is an octave lower than that of the saxhorns, the quality of tone being besides immeasurably superior. This difference is entirely due to the proportions of the truncated cone of the bore and consequently of the column of air within. By increasing the calibre of the bore in proportion to the length of the tube it was found that the fundamental note or first sound of the harmonic series was easily obtained in a full rich quality, and by means of the valves, with this one note as a basis, a valuable pedal octave is obtained, absent in the saxhorns. Prussia has not adopted these modifications; the bass tubas with large calibre, which have long been introduced into the military bands of other countries and retained in that country, are founded on the original model invented in 1835 by Wieprecht and Moritz, a specimen of which is preserved in the museum of the Brussels Conservatoire. The name “bass tuba” was bestowed by Wieprecht upon his newly invented bass with valves, which had the narrow bore afterwards adopted by Sax for the saxhorns. The evolution of the modern tubas took place between 1835 and 1854 (see Valves).
BB♭ Bombardon or Contrabass Tuba (Besson).
The instruments termed Wagner tubas are not included among
the foregoing. The Wagner tubas are really horns designed for
Wagner in order to provide for the Nibelungen Ring a complete
quartet having the horn timbre. The tenor tuba corresponds
to the tenor horn, which it outwardly resembles, having its tube
bent in rectangular outline and being played by means of a funnel-shaped
mouthpiece. The bore of the Wagner tenor and tenor-bass
tubas, in B♭ and F, is slightly larger than in the horn, but
much smaller than in the real tubas. The bell, funnel-shaped
as in the German tubas, is held to the right of the performer,
the valves being fingered by the left hand. There are four
valves, lowering the pitch respectively 1 tone, ½ tone, 1½ tone,
2 tones (or 2½ tones). The harmonic series is the same for both
instruments, the notation being as for the horn in C.
| C. | Real Sounds. | ||
| B flat Tenor. | |||
 | |||
| F Bass. | |||
 | |||
| N.B. — The black notes are difficult to obtain strictly in tune as open notes. | |||
By means of the valves the compass is extended downwards
an octave for each instrument. The timbre of the tenor tuba is
only slightly more metallic and less noble than that of the French
horn with valves. Many motives in the Ring are given out by
the quartet of horns and Wagner tubas.
The modern tuba finds its prototype as well as the origin of the name in the Roman tuba (the Greek salpinx), definite information concerning which is given by Vegetius.[1] Compared with the other military service instruments of the Romans, the buccina and cornu, the tuba was straight and was used to sound the charge and retreat, and to encourage and lead the soldiers during action; it was sounded at the changing of the guard, as the signal to begin and leave off work, &c. The tuba is represented, together with the buccina and cornu, on Trajan's column in the scenes described by Vegetius.
During the middle ages the tuba was as great a favourite as the busine (see Buccina and Trumpet), from which it may readily be distinguished by its marked conical bore and absence of bell. It is recorded that King Frederick Barbarossa gave an order on the 14th of January 1240 in Arezzo for four tubas of silver and for slaves to be taught to play upon them.[2] During the middle ages the Latin word tuba is variously translated, and seems to have puzzled the compilers of vocabularies, who often render it by trumba (Fr. trompe).
